Teaching Hemingway and Modernism

Description

Teaching Hemingway in his time Teaching Hemingway and Modernism presents concrete, intertextual models for using Hemingway's work effectively in various classroom settings, so students can understand the pertinent works, definitions, and types of avant-gardism that inflected his art. The fifteen teacher-scholars whose essays are included in the volume offer approaches that combine a focused individual treatment of Hemingway's writing with clear links to the modernist era and offer meaningful assignments, prompts, and teaching tools.The essays and related appendices balance text, context, and classroom practice while considering a broad and student-based audience. The contributors address a variety of critically significant questions-among them:How can we view and teach Hemingway's work along a spectrum of modernist avant-gardism?How can we teach his stylistic minimalism both on its own and in conjunction with the more expansive styles of Joyce, Faulkner, Woolf, and other modernists?What is postmodernist about an author so often discussed exclusively as a modernist, and how might we teach Hemingway's work vis-a-vis that of contemporary authors?How can teachers bridge twentieth- and twentyfirst- century pedagogies for Hemingway studies and American literary studies in high school, undergraduate, and graduate settings? What role, if any, should new media play in the classroom?Teaching Hemingway and Modernism is an indispensable tool for anyone teaching Hemingway, and it offers exciting and innovative approaches to understanding one of the most iconic authors of the modernist era.

Sujets

• Lettres et linguistique
• Idioma inglés
• USA
• English
• États-Unis
• Anglais

Informations

• Publié par: The Kent State University Press
• Date de parution: 01 novembre 2015
• Nombre de lectures: 0
• EAN13: 9781631011740
• Langue: English

Extrait

Teaching Hemingway and Modernism
TEACHING HEMINGWAY
Mark P. Ott, Editor
Susan F. Beegel, Founding Editor
Teaching Hemingway’s The Sun Also Rises
EDITED BY PETER L. HAYS
Teaching Hemingway’s A Farewell to Arms
EDITED BY LISA TYLER
Teaching Hemingway and Modernism
EDITED BY JOSEPH FRUSCIONE
Teaching Hemingway and Modernism
Edited by Joseph Fruscione
The Kent State University Press       Kent, Ohio
Copyright © 2015 by The Kent State University Press, Kent, Ohio 44242
All rights reserved
Library of Congress Catalog Card Number 2014049079
ISBN 978-1-60635-246-5
Manufactured in the United States of America
Library of Congress Cataloging-in-Publication Data
Teaching Hemingway and Modernism / edited by Joseph Fruscione.
        pages cm. — (Teaching Hemingway)
  Includes bibliographical references and index.
   ISBN 978-1-60635-246-5 (pbk. : alk. paper) ∞
1. Hemingway, Ernest, 1899–1961—Study and teaching. 2. Modernism (Literature)—Study and teaching. I. Fruscione, Joseph, 1974– editor.
  PS3515.E37Z8917 2015
  813’.52—dc23
2014049079
19  18  17  16  15        5  4  3  2  1
Contents
Foreword
MARK P. OTT
Introduction
JOSEPH FRUSCIONE
Modernist Style, Identity Politics, and Trauma in Hemingway’s “Big Two-Hearted River” and Stein’s “Picasso”
JULIE GOODSPEED-CHADWICK
“Miss Stein Instructs”: Revisiting the Paris Apprenticeship of 1922
KATIE OWENS-MURPHY
Hemingway, Stevens, and the Meditative Poetry of “Extraordinary Actuality”
PHILLIP BEARD
Our Greatest American Modernists: Teaching Hemingway and Faulkner Together
JAMES B. CAROTHERS
From Paris to Eatonville, Florida: Hemingway’s The Sun Also Rises and Hurston’s Their Eyes Were Watching God
ANNA LILLIOS
The Sun Also Rises and the “Stimulating Strangeness” of Paris
MEG GILLETTE
Teaching the Avant-Garde Hemingway: Early Modernism in Paris
ADAM R. MCKEE
Teaching Hemingway Beyond “The Lost Generation”: European Politics and American Modernism
DAVID BARNES
Twentieth-Century Titans: Orwell and Hemingway’s Convergence through Place and Time
JEAN JESPERSEN BARTHOLOMEW
The Developing Modernism of Toomer, Hemingway, and Faulkner
MARGARET E. WRIGHT-CLEVELAND
The Futurist Origins of Hemingway’s Modernism
BRADLEY BOWERS
Hemingway, His Contemporaries, and the South Carolina Corps of Cadets: Exploring Veterans’ Inner Worlds
LAUREN RULE MAXWELL
Teaching Hemingway’s Modernism in Cultural Context: Helping Students Connect His Time to Ours
SHARON HAMILTON
On Teaching “Homage to Switzerland” as an Introduction to Postmodern Literature
JEFFREY HERLIHY-MERA
Chasing New Horizons: Considerations for Teaching Hemingway and Modernism in a Digital Age
ANDREW FLETCHER
Appendixes
Works Cited
Selected Bibliography
Contributors
Index
Foreword
Mark P. Ott
How should the work of Ernest Hemingway be taught in the twenty-first century? Although the “culture wars” of the 1980s and 1990s have faded, Hemingway’s place in the curriculum continues to inspire discussion among writers and scholars about the lasting value of his work. To readers of this volume, his life and writing remain vital, meaningful, and culturally resonant for today’s students.
Books in the Teaching Hemingway Series build on the excellent work of founding series editor Susan F. Beegel, who guided into publication the first two volumes of this series, Teaching Hemingway’s A Farewell to Arms, edited by Lisa Tyler (2008), and Teaching Hemingway’s The Sun Also Rises, edited by Peter L. Hays (2008). To promote their usefulness to instructors and professors—from high schools, community colleges, and universities—the newest volumes in this series are organized thematically, rather than around a single text. This shift attempts to open up Hemingway’s work to more interdisciplinary strategies of instruction through divergent theories, fresh juxtapositions, and ethical inquiries, and to the employment of emergent technology to explore media beyond the text.
Teaching Hemingway and Modernism , edited by Joseph Fruscione, speaks to issues that remain of intense interest to students and scholars today: the avant-garde, Paris, politics, war, race, and trauma. The expertise and insight Fruscione brought to his definitive work, Faulkner and Hemingway: Biography of a Literary Rivalry (2012), is manifest throughout this volume. These far-ranging essays explore Hemingway’s biography, his experience in Paris, the role of the Great War, and the implications that all these intersections had for the shaping and evolution of American modernism. This volume demonstrates that in today’s classrooms and lectures halls Hemingway’s work is being taught in more thoughtful and innovative ways than ever before. Indeed, the essays showcase the creativity, wisdom, and insight of authors from varied backgrounds united in their passion for sharing Hemingway’s work with a new generation of students.
Introduction
Joseph Fruscione
Before we were teachers of Hemingway, we were students of Hemingway. Before we began defining modernism for our students, we were taught a set of terms, concepts, and exemplars that help articulate what modernism is—or, perhaps, more accurately, what modernisms are. I intend for this collection to guide students and teacher-scholars in (re)defining what Hemingway and modernism(s) continue to mean, both individually and jointly.
Just as, in Rita Barnard’s words, “[n]o one cause or project can be singled out as the defining feature of this diverse body of writing” (39), so too no one Hemingway text or theme can capture his multifaceted engagement with modernism in the postwar era. My goal for Teaching Hemingway and Modernism is to offer concrete, intertextual models for effectively using Hemingway’s work in various classroom settings, so students can understand the pertinent works, definitions, and types of avant-gardism that inflected his art. I aim for this volume to advance an intertextual–contextual approach to teaching Hemingway’s work in light of evolving theories and constructions of modernism, instead of a more traditional single-author or single-text approach. When soliciting essays for this collection in the summer and fall of 2012, I encouraged multiauthor, context-based approaches to Hemingway and/in modernism—specifically, approaches that balanced a focused, individual treatment of Hemingway’s work(s) with a clear link to the era and a clear set of assignments, prompts, and other teaching tools. Since Hemingway worked in dialogue with authors, artists, and larger literary and political movements in the postwar scene, models for teaching his work in its modernist context should not only discuss but also practice this author–milieu dialogue. In this way, I’m seeking to operate within yet expand on the fine work my predecessors Peter Hays and Lisa Tyler have done, respectively, in Teaching Hemingway’s The Sun Also Rises (2007) and Teaching Hemingway’s A Farewell to Arms (2008).
I have chosen teacher-scholars from various levels of their careers who will discuss their ways of teaching Hemingway’s connections to such authors as Wallace Stevens, Gertrude Stein, William Faulkner, Ezra Pound, F. Scott Fitzgerald, Thornton Wilder, Zora Neale Hurston, and George Orwell. This multiauthor approach is, I hope, both critically engaging and pedagogically applicable to teachers at various levels of secondary and university education. Teaching students ways of researching and evaluating information critically—from both born-print and born-digital sources—is a key step in teaching them to think and write critically. Readers can expect to find, among various interpretive approaches to Hemingway’s modernist-era work, a series of writing, discussion, and research-based tasks for different kinds of students.
My central goal is for this collection to strengthen yet complicate Hemingway’s position as a modernist—and perhaps as a proto-postmodernist, as Jeffrey Herlihy-Mera posits in chapter 14—while moving beyond established narratives of the “lost generation” and the like. The book’s fifteen contributors address a variety of critically significant questions, among them:
• How can we view and then teach Hemingway’s work along a spectrum of modernist avant-gardism?
• How can we teach his stylistic minimalism both on its own and in conjunction with the more expansive styles of Joyce, Faulkner, Woolf, and other modernists?
• What is, or should be, Hemingway’s place in evolving critical conversations about Anglophone modernism? What is new about Hemingway and/in modernism?
• How can we see the influence of Stein, Pound, and others on Hemingway in terms of dialogue and shared exchange, rather than simply a mentor-mentee relationship?
• What is post modernist about an author so often discussed exclusively as a modernist, and how might we teach Hemingway’s work vis-à-vis that of contemporary authors?
• How can teacher-scholars bridge twentieth‒ and twenty-first-century pedagogies for Hemingway studies and American literary studies in high school, undergraduate, and/or graduate settings? What role, if any, should new media play in the classroom?
Although much less broadly, I intend Teaching Hemingway and Modernism to work within the kinds of interdisciplinary, multiartist constructs that Douglas Mao and Rebecca Walkowitz have advanced in their collection, Bad Modernisms (2006). “The new modernist studies,” they note persuasively, have “moved toward a pluralism or fusion of theoretical commitments, as well as a heightened attention to continuities and intersections across the boundaries of artistic media … and (especially) to the relationship between individual works of art and the larger cultures in which they emerged” (2). 1 Furthermore, they add, “this direction resonates with developments occurring throughout the humanities in recent years, of course, but it seems to accrue particular influence in the orbit of modernism, because early twentie